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Exhibition Itinerary

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Exhibition Itinerary Exhibition Itinerary Although Piero della Francesca began travelling at an early age and spent great part of his life working at the most important Courts in Central and Adriatic Italy, he never definitely bound himself to any Lord and always remained closely attached to his native town, so much so that he signed his works as “Pietro from Borgo”, as if to proudly underline his origins. The first section of the Exhibition is called, precisely,Petrus de Burgo: Piero’s distinctive traits and his poetics, as well as his love for his land, can immediately be seen in the exhibited Virgin and Child - Piero’s first work - exceptionally found in a private collection after more than 50 years -, in the Treaty of Abaco (circa 1460), and in Saint Jerome with Jerome Amadi, lent by the Academy Galleries of Venice, dating back to the late 1440s. After many years of untraceability, the fascinating small ancona of the Virgin (part of the Contini collection) is thus displayed at the Exhibition; according to both Longhi and Salmi, the ancona was one of the first works by Piero - thus, on the basis of information on Piero’s birth, it may date back to well before his collaboration with Domenico MINISTERO PER I BENI Veneziano or, nonetheless, to when it first started; thanks to its undeniably new elements, it allows us to further E LE ATTIVITÀ CULTURALI understand one of the main issues raised by the Exhibition, namely Piero’s role in the formation of Ferrara’s culture DIREZIONE REGIONALE PER I BENI and the breadth of his knowledge acquired in Florence before going to Ferrara. CULTURALI E PAESAGGISTICI DELLA TOSCANA The Abaco, whose two hand-written versions are on exhibition (the version of the Medicea Laurenziana Library SOPRINTENDENZA PER I BENI and the signed version of the National Central Library of Florence), strikingly recall Piero’s theoretical interests, ARCHITETTONICI, PER IL PAESAGGIO which he pursued throughout his life, alongside painting. E PER IL PATRIMONIO STORICO, ARTISTICO ED ETNOANTROPOLOGICO The Abaco is a maths manual, an indispensable tool for accounting purposes, yet it also contains algebra problems DELLA PROVINCIA DI AREZZO and a section on geometric solids, a basis for the following Latin Treaty. Piero’s interest in geometry and maths REGIONE TOSCANA dated back to his youth and training, when he was urged to study what was most useful for a merchant’s son. PROVINCIA DI AREZZO It was precisely to a merchant in Sansepolcro that Piero dedicated such first text. COMUNE DI AREZZO Piero’s speculative activity did not end with the Abaco; rather, his search for scientific rules governing reality COMUNE DI MONTERCHI and thus the internal structure of paintings, the need for harmony, the study of proportions, the application COMUNE DI SANSEPOLCRO of mathematical laws to art works, were an integral part of Piero’s artistic research. COMUNITÀ MONTANA VALTIBERINA TOSCANA The view of San Sepolcro dominating the landscape in the painting of Saint Jerome – in Venice at least since the early 19th century (part of the Renier collection) – clearly demonstrates both how Piero’s works always brought CAMERA DI COMMERCIO, INDUSTRIA ARTIGIANATO E AGRICOLTURA DI AREZZO to life the colours and lands of his origin, and how he was profoundly affected by Flemish painting. The devout BANCA ETRURIA figure clothed in a red garment (nearly dominating that of the saint facing him) is, quite likely, the same praying figure represented under the cloak inOur Lady of Mercy in Sansepolcro – and “is what most resembles Flemish TOSCANA PROMOZIONE AGENZIA PER IL TURISMO DI AREZZO models”; as in no other painting did Piero create a complex interplay of lights, which was in itself a further reference to the Flemish world. As said by Paolucci, this is precisely the “sweet diffused luminosity” of Piero’s “Baptism”, now kept in London. In 1438, Piero left his land for the first time and set off for Perugia, where he worked with Domenico Veneziano at the Baglioni’s Palace, the leading family of the time. Piero had little to learn from Perugia. Even Domenico di Bartolo, the painter from Siena who had made in 1433 a small and innovative work (Our Lady of Humility – on exhibition), eventually had to give in to the traditional Gothic style during his stay in Perugia five years later. Rather, what was fundamental for Piero while staying in Perugia was his collaboration with Domenico Veneziano, his teacher for some time. They shared many interests and both experimented the new science of perspective, forsaking the dark Gothic world for brighter and sunnier colours. Moreover, Domenico’s cultural background was completely new to Piero. As a youngster, Domenico had been a pupil of Pisanello and had grown accustomed to the sophisticated culture of Northern Italian Courts, which Piero would later work for. A large segment of Domenico’s fresco of a Famous Man (from the National Gallery of Umbria), and another important fresco depicting Saint Francis and Saint John the Baptist (from Santa Croce Museum of Florence), are both displayed at the Exhibition. The following year, i.e. in 1439, both painters were commissioned to fresco the Church of Sant’ Egidio, annexed to the hospital of Santa Maria Nuova in Florence. Though the frescoes were lost, the Exhibition displays a fragment of the sinopite. In the cosmopolitan environment of the late 1430s Florence, the heart of the Renaissance, Piero’s figurative ORGANIZZAZIONE GENERALE VILLAGGIO GLOBALE INTERNATIONAL training underwent a fundamental change. As written by Carlo Bertelli, “We do not need to be very imaginative to picture what Piero saw and whom he met. Romano” by Paolo Uccello, and had appreciated the painter’s innovative representation of fallen soldiers and broken The masterpieces by Brunelleschi, Donatello and Masaccio’s generation were all there to be seen, and Ghiberti, spears. Yet, by clothing soldiers in Roman garments (being influenced as he was by the learned environment Angelico, Luca della Robbia, just to mention a few, were all engaged in new works.” of the Estensi’s Court), Piero’s fallen soldiers were not mechanical toys, as Paolo Uccello’s cataphracts lying Besides, the Oecumenical Council was being held in such a powerful town, a circumstance which allowed Piero on the ground, but rather bleeding and suffering men. Nor was he so reckless as the Florentine painter when to meet the humanists of Pope Eugene IV’s Court (the Pope himself was a humanist and an art patron) and representing horses (Uccello had probably used jointed three-dimensional models). to admire the Byzantine Emperor and his suit. In Ferrara, Piero drew inspiration both from Flemish tapestries and frescoes with battle scenes, which were quite The Byzantine Court stroke deep in Piero’s memory, being the concrete and lively expression of the glories common in patrician villas in Northern Italy, and from Pisanello – present at the Estensi’s Court – who had already of the Roman Empire. Pisanello, presumably in Florence or the year before in Ferrara, made some drawings dealt with the battle theme in Palazzo Ducale in Venice and Mantua; it is precisely from Mantua that two important of the Emperor’s and his officers’ clothes, to be turned into amedal : said latter work, on exhibition, comes from segments of Uccello’s frescoes come from and are displayed at the Exhibition: a frieze with the S sign and one with Paris, and allows visitors to capture the images which Piero possibly retained from said event. Piero would later the figure of a woman . Both in Mantua and in Ferrara, the battle is frayed into a multitude of duels and develops recall the Greek Court in the Scourging, one of his frescoes in Arezzo, in which he unusually painted the same into a bitter fight. In the canvas from Baltimore, we may even notice a foreshortened legless figure which seems headgear both for the triumphant Emperor Constantine and for his enemy Maxentius, as revealed by the exhibited to recall the one seen among the fallen soldiers in the frescoes from Mantua. copies (coming from Darmstadt) of the frescoes, which were damaged by an earthquake. Moreover, it was thanks to Lionello and to the lively humanist environment at the Estensi’s Court that Piero came In 1446-1447, Piero was in Ferrara at Lionello d’Este’s Court. first in touch with the ancient world, which prompted him to study ancient monuments in Rome and paint the battle Ferrara was quite a different world from Florence. In Florence, the Renaissance was part of the public world, scenes in Arezzo. especially thanks to the building of its spectacular Dome, to the associations’ patronage, and to the presence In Ferrara, Piero developed a number of distinctive traits typical of his art: the study of narrative options in the light of progressive artists, also within religious orders, such as Beato Angelico (Dominicans) and Filippo Lippi of the most rigorous perspective rules; the relationship between giant-like figures and the surrounding landscape; (Carmelites) – the Exhibition displays the latter’s famous Our Lady of Humility among angels and saints, known his first approach to oil painting, which would lead to the sublime Augustinian’sPolyptych and the Virgin Mary as Our Lady Trivulzio. of Senigallia; the discovery of an innate world not to be disclosed to others; and his early contact with the ancient Quite differently, in the North the Renaissance needed to be supported by local Courts. Lionello’s humanist Court world. By looking at Piero’s works, from the battle scenes – now lost though imagined thanks to their copies – was a particularly active centre in this respect. In his villa in Belfiore, Lionello planned a room where he could rest to his early affirmation in theBaptism, we can perceive his professional growth at the Estensi’s Court in his close among the most valuable items of his collection.
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